I actually used pictures of the Cokin filter holder as model for my holder. I could not use the Cokin one because it is too small, I had to scale it for a 300mm lens and 6" filters. If you are using a 210mm on the 138 then the Cokin may work.
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OP
OP
hallo
i have the tripla but no mount for the filters in the middle.
there is only the 2-sided nut with a small hole.
i have to build something like your mount (thankyou for the pic)
my only problem is: im a joiner not a locksmith
i`m waiting for the weekend
analog greetings
thomas
ps: i got a old book special about the laborator 138 in german. not really new things inside but interresting to read
i have the tripla but no mount for the filters in the middle.
there is only the 2-sided nut with a small hole.
i have to build something like your mount (thankyou for the pic)
my only problem is: im a joiner not a locksmith
i`m waiting for the weekend
analog greetings
thomas
ps: i got a old book special about the laborator 138 in german. not really new things inside but interresting to read
Yes, the red filter shaft was important. In fact, there is a screw hole in the bottom of the shaft, and that is how my filter holder attaches with a bolt.
I have a tripla with a sawed-off shaft. (who would do such a thing...
)How big is your filterholder on the head. The Ilford 6"x6" filters are reasonably priced if they will fit up there.
OP
OP
hallo
12 cm a little less than 5" -> will work
the light window is only 8 cm about 3,2".
this size i have i only wmust build a frame to hold it, because i need that size for my kaiser 7000 head.
i only hope that the heat is not to high in the filterdrawer in the head for these multigrade filters . now i inly run it with 75 watt. but in futur i want to use 150 watt or maybe a halogenbulb with 250 watt. which will produce more heat, i think.
analog greetings
thomas
12 cm a little less than 5" -> will work
the light window is only 8 cm about 3,2".
this size i have i only wmust build a frame to hold it, because i need that size for my kaiser 7000 head.
i only hope that the heat is not to high in the filterdrawer in the head for these multigrade filters . now i inly run it with 75 watt. but in futur i want to use 150 watt or maybe a halogenbulb with 250 watt. which will produce more heat, i think.
analog greetings
thomas
For below the lens filter options Look on the S.K. Grmes web site. They show a custom three filter turret similar to the Durst Tripla system for lens changing.
I just made one this morning out of foam core as a prototype to see how it works for me, that will attach to the existing swing in red filter holder to allow me to do red, green and blue for split filter b&w printing.
I just made one this morning out of foam core as a prototype to see how it works for me, that will attach to the existing swing in red filter holder to allow me to do red, green and blue for split filter b&w printing.
OP
OP
hallo
thats the original red filter. thats the thing i dream of
thomas
thats the original red filter. thats the thing i dream of
thomas
Pyco - yes, mine looks like that, and is what I have attached the 'tripla clone' filter holder to.
OP
OP
hallo
today was a good da: i have may prototype negativeholder.
made out of plasticboards - without an glass.
it works well
i noticed another crazy thing. there is a glass against heating before the glass of the filterdrawer. this glass is devided in the middle. no tragedy when using opallams. but there was a line in the middle when i mounted a 120 watt halogenlamp with e27 socket. ok, i take the glass out of the head and then surprise surprise the divided glass has two colours one is darker and more blue??????
the next strange thing happend when i tried to adjust the halogenlamp. there were some colourflairs (i hope that word is right). bluish green one. when i tried to adjust the lamp better they disappeared sightly. but when i tried to increase the f-stop and the light changed sightly the colour and form and disappeared.
must i adjust the lamp for every f-stop extra????
in the next days i will take photos of this things.
analog greetings
thomas.
ps i also found a solution for the filtermount. its so easy, but i thought much to complicated.
today was a good da: i have may prototype negativeholder.
made out of plasticboards - without an glass.
it works well
i noticed another crazy thing. there is a glass against heating before the glass of the filterdrawer. this glass is devided in the middle. no tragedy when using opallams. but there was a line in the middle when i mounted a 120 watt halogenlamp with e27 socket. ok, i take the glass out of the head and then surprise surprise the divided glass has two colours one is darker and more blue??????
the next strange thing happend when i tried to adjust the halogenlamp. there were some colourflairs (i hope that word is right). bluish green one. when i tried to adjust the lamp better they disappeared sightly. but when i tried to increase the f-stop and the light changed sightly the colour and form and disappeared.
must i adjust the lamp for every f-stop extra????
in the next days i will take photos of this things.
analog greetings
thomas.
ps i also found a solution for the filtermount. its so easy, but i thought much to complicated.
Just put a pice of enlarging paper in the easel with no negative. The exposure will be real short. Try to get a middle gray. You NEED to use your USUAL aperture and have the lens the USUAL distance from the negative (ie focused at your usual print size). ALL enlarging lenses produce a hot-spot when wide open, independent of the enlarger. Also, the evenness of the lens changes with magnification independent of condenser settings. The most even illumination is a combination of the lens and enlarger light source and will likely never be perfect in all conditions.
OP
OP
hallo
this is a really bad photo of the heatprotection glass
Dead Link Removed
sorry i have no digi-cam only my old cellphone.:munch:
but you can see the two colours of the glasses.
this part is placed before the filterdrawer in the head in direction to the lamp.
can any other of you look how this part looks like. i think mine is not original or something special.
i tested the glasses with my lightmeter an thex have the same transparency.
yesterday i aligned the whole enlarger and positioned it at his fixed place.
also the neg.carrier is ready and works well.
next month i will build one out of max-exterior laminat boards (for the eternity)
i also found some an-glass to build a real good and flexible one.
happy diy
thomas
this is a really bad photo of the heatprotection glass
Dead Link Removed
sorry i have no digi-cam only my old cellphone.:munch:
but you can see the two colours of the glasses.
this part is placed before the filterdrawer in the head in direction to the lamp.
can any other of you look how this part looks like. i think mine is not original or something special.
i tested the glasses with my lightmeter an thex have the same transparency.
yesterday i aligned the whole enlarger and positioned it at his fixed place.
also the neg.carrier is ready and works well.
next month i will build one out of max-exterior laminat boards (for the eternity
)i also found some an-glass to build a real good and flexible one.
happy diy
thomas
OP
OP
hallo
a new day a new question!
will it be possible to diffuse the pointlight with a diffusen filter in the filterdrawer???
thanks for helping
thomas
a new day a new question!
will it be possible to diffuse the pointlight with a diffusen filter in the filterdrawer???
thanks for helping
thomas
A similar technique is used in theatrical lighting all the time. You may need heat absorbing glass to keep the diffusion material from getting 'bleached/yellowed' over time, if placed upstrem of the condensers.
OP
OP
hallo
yes the heatabsorbing glass has two colours -> see above pic.
i found a replacement from the buildingsite lamp but its to large , and i dont know if it is possible to cut???
i ask because i want to mace a diy copy of the durst lampkit http://www.durst-pro-usa.com/lamp_kit.htm and there they put a diffusor glass in the heatprotectionglassholder.
--
thomas
yes the heatabsorbing glass has two colours -> see above pic.
i found a replacement from the buildingsite lamp but its to large , and i dont know if it is possible to cut???
i ask because i want to mace a diy copy of the durst lampkit http://www.durst-pro-usa.com/lamp_kit.htm and there they put a diffusor glass in the heatprotectionglassholder.
--
thomas
OP
OP
hall
i found a ge lamp called "haloglobe".
a halogenlamp in a diffused bulb with a diameter of 95mm in 60, 100 and 150 watt
has anyone trieed this one???
analog greetings
thomas
i found a ge lamp called "haloglobe".
a halogenlamp in a diffused bulb with a diameter of 95mm in 60, 100 and 150 watt
has anyone trieed this one???
analog greetings
thomas
Last edited by a moderator:
Hello Thomas,
I used the Philips version of these bulbs in my Laborator 1000.
It is not as good an idea as it seems.
The lamp ON time is too short to get the halogen rejuvenation process running correctly. So you end up with black spots on the halogen envelope which makes darker spots on the opal white outer bulbs. They can (and will ) show on some low key prints.
Last but not least it reduced the lamp life tremendously.
IMHO I would stick to the 65 mm enlarger bulbs and center it as good as I can to get the more even lighting on the baseboard I can get.
It works very fine in my L1000...
I used the Philips version of these bulbs in my Laborator 1000.
It is not as good an idea as it seems.
The lamp ON time is too short to get the halogen rejuvenation process running correctly. So you end up with black spots on the halogen envelope which makes darker spots on the opal white outer bulbs. They can (and will ) show on some low key prints.
Last but not least it reduced the lamp life tremendously.
IMHO I would stick to the 65 mm enlarger bulbs and center it as good as I can to get the more even lighting on the baseboard I can get.
It works very fine in my L1000...
Hello Thomas, and all 138 users
I'm working on the light source problem myself. I'm in the process of testing a setup with an opal globe from an old lamp (found it in my cellar, actually) and a small 205W halogen lamp inside it. At last try, i got within 1/3 of an f-stop fall off at the corners with the 210mm lens on 5x7. But with the 180mm, which I prefer, it was 1/2 a stop. It's promising, but needs more testing. My setup is a bit primitive, and therefore hard to adjust. Maybe I'll get a chance to work on it tomorrow. I've also bought an electric shutter which might be useful with a fluorescent bulb, which should be turned on continuously to give a stable light output.
As for your 75W opal lamp, I think it's too small (the diameter, that is). Try to get a 150W or 250W lamp. They should work fine for 4"x5" (or 9x12cm). But for 5x7 (13x18cm) you must have a light source of 110mm diameter. The manual says you can use 300W without a ventilator.
The colur fringing you describe with the 120W halogen bulb, I think may be a result of setting up your enlarger as a point source enlarger and using the diaphragm. With point source you have to use the full apperture of the lens (sharpness will not suffer). I haven't tested this myself, but I have read that stopping down with point source lighting will give some strange results.
Do you have the manual? There you will find information on condenser combinations and bulb diameters for different lens focal lengths. This is important. If you don't have it, I can send a pdf-file (english language) if you give me your e-mail address.
For the mirror: I think a good source for surface-silvered mirrors should be old glazing plates (hochglanzplatten) for the old fashioned print dryers. But I'm not convinced that it's important to have a surface-silvered mirror. It is not used for image-forming light, so I can't imagine you should have a problem with ghost images. I think it's more a question of light loss.
Good luck, any way. The Durst 138 is really a superior machine, I think. I use mine for all formats from 35mm to 5"x7". All accesories but the light bulbs can be found on eBay if you're patient. And, on rear occasions, the bulbs too. But then they are very expensive (but perhaps I'll pay the price next time).
Andreas
I'm working on the light source problem myself. I'm in the process of testing a setup with an opal globe from an old lamp (found it in my cellar, actually) and a small 205W halogen lamp inside it. At last try, i got within 1/3 of an f-stop fall off at the corners with the 210mm lens on 5x7. But with the 180mm, which I prefer, it was 1/2 a stop. It's promising, but needs more testing. My setup is a bit primitive, and therefore hard to adjust. Maybe I'll get a chance to work on it tomorrow. I've also bought an electric shutter which might be useful with a fluorescent bulb, which should be turned on continuously to give a stable light output.
As for your 75W opal lamp, I think it's too small (the diameter, that is). Try to get a 150W or 250W lamp. They should work fine for 4"x5" (or 9x12cm). But for 5x7 (13x18cm) you must have a light source of 110mm diameter. The manual says you can use 300W without a ventilator.
The colur fringing you describe with the 120W halogen bulb, I think may be a result of setting up your enlarger as a point source enlarger and using the diaphragm. With point source you have to use the full apperture of the lens (sharpness will not suffer). I haven't tested this myself, but I have read that stopping down with point source lighting will give some strange results.
Do you have the manual? There you will find information on condenser combinations and bulb diameters for different lens focal lengths. This is important. If you don't have it, I can send a pdf-file (english language) if you give me your e-mail address.
For the mirror: I think a good source for surface-silvered mirrors should be old glazing plates (hochglanzplatten) for the old fashioned print dryers. But I'm not convinced that it's important to have a surface-silvered mirror. It is not used for image-forming light, so I can't imagine you should have a problem with ghost images. I think it's more a question of light loss.
Good luck, any way. The Durst 138 is really a superior machine, I think. I use mine for all formats from 35mm to 5"x7". All accesories but the light bulbs can be found on eBay if you're patient. And, on rear occasions, the bulbs too. But then they are very expensive (but perhaps I'll pay the price next time).
Andreas
OP
OP
hallo
thankyou all for the replys. they are very useful.
i hav the pdf file for the 138s.
i also find some articles about the pointlightsources.
for the mirror. i have found a resource for front mirrored glass.
http://www.durst-pro-usa.com/lamp_kit.htm
but in german only.
other lamps i now have ordered. but the 75 is bright enough.
i also ordrerd lee diffuorgel from stagebuildingsite.
the prototype of the filterholder below the lens is also buit.
only thing i have to find is the heatprotctionglass when using more watt for larger prints and larger negatives.
today only less time, so i used teh telegrammstyle
thomas
thankyou all for the replys. they are very useful.
i hav the pdf file for the 138s.
i also find some articles about the pointlightsources.
for the mirror. i have found a resource for front mirrored glass.
http://www.durst-pro-usa.com/lamp_kit.htm
but in german only.
other lamps i now have ordered. but the 75 is bright enough.
i also ordrerd lee diffuorgel from stagebuildingsite.
the prototype of the filterholder below the lens is also buit.
only thing i have to find is the heatprotctionglass when using more watt for larger prints and larger negatives.
today only less time, so i used teh telegrammstyle
thomas
I managed to get som time for experiments yesterday. I had found a large flexible magnifier of the kind they sell in book stores (mine was found in a shop specialising in helpuful devices for old people). This kind of magnifier is really a fresnel lens. I use them on the grond glass of my 9x12cm and 5x7 cameras too. But this time I cut the lens to size to fit in the filter drawer (16x16cm in my very old 138, 12x12cm in newer models). This turned out to be very successful. I adjusted the lamp (ordinary 150W opal lamp) as close to the filter drawer as possible and centered it carefully. The result was evenness of illumination almost as good as with the original huge 300W lamp (I had borrowed one from a friend as a reference). This was with the 240/240 condensers and 210mm lens. The only problem was that the heat from the bulb caused a slight deformation of the fresnel lens. I don't have the heat absorbing glass. (I would be happy if anyone has found a source). I'll try with a piece of ordinary fosted glass, which might also even out the illumination some more. I think the lamp actually touched the lens in my experiment, and that an ordinary glass will help. With 80mm lens and the proper condensers the illumination was less satisfying. But it is a quick operation to remove the lens from the filter drawer and recenter the lamp.
About the mirror: The original mirror is definitely not surface-silvered. I could see that from whatching the edges of my own mirror. The manual also mentions that you should use a coated mirror with point source illumination (and also coated condensers). It would be no point in coating a surface-silvered mirror, as the light would not pass through the glass.
If anyone's interrested, here's my line of thought for the fresnel lens experiment: The task of the condensers is to focus an image of the bulb in the optical centre of the enlarging lens. The image must be so large that vignetting will be avoided. With the small bulb, the image is also too small. If you consider the lamphous/condenser system of the enlarger as a camera with fixed extension, the way to get a larger image is to use a close-up lens (the fresnel magnifier) and bring the subject (the bulb) closer to the lens (the condensers). Or you could simpy say that the magnifier makes the light rays from the bulb look as if they ar coming from a larger, more distant bulb when they reach the condesors.
Andreas
About the mirror: The original mirror is definitely not surface-silvered. I could see that from whatching the edges of my own mirror. The manual also mentions that you should use a coated mirror with point source illumination (and also coated condensers). It would be no point in coating a surface-silvered mirror, as the light would not pass through the glass.
If anyone's interrested, here's my line of thought for the fresnel lens experiment: The task of the condensers is to focus an image of the bulb in the optical centre of the enlarging lens. The image must be so large that vignetting will be avoided. With the small bulb, the image is also too small. If you consider the lamphous/condenser system of the enlarger as a camera with fixed extension, the way to get a larger image is to use a close-up lens (the fresnel magnifier) and bring the subject (the bulb) closer to the lens (the condensers). Or you could simpy say that the magnifier makes the light rays from the bulb look as if they ar coming from a larger, more distant bulb when they reach the condesors.
Andreas
OP
OP
hallo
for the heatprotctionglass:
var.1_ look for the importer of schottglass "borofloat33" should be the right material works up to 500°C
var.2_ take the glass of an halogen floodlight from the buildingsite
the only problem is this glasses are 5 mm thick the drawer for the heatprotectionunit is only 4mm.
i also contacted a glazier in austria respective of the heatprtectionglass of schott. i hope i get response about the price this week (maybe today).
so lets hope:
and happy home improvement (and dont forget to make enlargements )
thomas
for the heatprotctionglass:
var.1_ look for the importer of schottglass "borofloat33" should be the right material works up to 500°C
var.2_ take the glass of an halogen floodlight from the buildingsite
the only problem is this glasses are 5 mm thick the drawer for the heatprotectionunit is only 4mm.
i also contacted a glazier in austria respective of the heatprtectionglass of schott. i hope i get response about the price this week (maybe today).
so lets hope:
and happy home improvement (and dont forget to make enlargements
)thomas
OP
OP
hallo
i have the price now for the heatprotection glass.
robax form schott works till 700°C
per unit 13,-€
thomas
i have the price now for the heatprotection glass.
robax form schott works till 700°C
per unit 13,-€
thomas
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